手彫りによるボカシの美しさを追求する彫桃氏の妙技が存分に堪能できるカラス彫りの傑作。狙う墨の濃さや肌の質により針の刺し方を変え、滑らかなグラデーションを生み出している。薄ボカシはムラが顕著に目立つため均して彫るのは特に難しいとされているが、この作品を見れば氏の技術が如何に優れたものであるかは瞭然だろう。
この風神雷神図甲羅彫りは、これから要所に白を刺して完成となる。なお上部のレタリングおよびスリーブは他アーティストの手によるものだ。
This is a masterpiece of karasu-bori (black and grey irezumi) in which you can fully enjoy the mastery of Horimomo who pursues the beauty of bokashi (shade) by hand poking. He creates a smooth gradation by changing the way he pokes needles depending on the texture of the skin and the density of the ink he wants to express. It is particularly difficult to hand poke usu-bokashi (light shade) evenly because the unevenness is conspicuous, but this work clearly shows how excellent his technique is.
This kora-bori (carapace style) of “Fujin & Raijin” (wind and thunder gods) will be completed by adding white color in key places. The lettering tattoo on the upper part and sleeve tattoos are done by other artists.
風神雷神といえば17世紀に描かれた俵屋宗達による屏風画が有名だが、平安時代から鎌倉時代にかけて多く描かれた『千手観音二十八部衆像』では、既に対になる存在として扱われている。風袋と連鼓を携える描写の発祥は定かではないが、6世紀頃の中国ではもうこの姿で定着していたとされる。
風神雷神は文字通り、風雨や雷といった自然現象が神格化された概念。仏教においては仏法を守り悪を懲らしめ善を勧めると同時に、天候を整える力を持つ。そのため農耕には欠かせない神格であり、災いを退け豊穣をもたらすとして古くから信仰の対象となっている。
Fujin & Raijin are best known for the folding screen painting drawn by Tawaraya Sotatsu in 17th century, but you can see they were already recognized as conterparts in the images of “Senju-Kannon Nijuhachi Bushu Zo”, which were painted widely from the Heian (794-1185) to Kamakura (1185-1333) periods. The origin of the depiction of them with a bag and drums in not known, but those figures are already well-established in China around the 6th century.
Fujin & Raijin are literally concepts in which natural phenomena such as wind, rain, and lightning are deified. They have the power to protect Buddhism, discourage evil and encourage good, then also regulate the weather. For this reason, they are indispensable deities for agriculture, and has long been an object of worship for its ability to ward off evil and bring about a good harvest.
